The Cultural Politics of Jazz Collectives: This Is Our Music documents the emergence of collective movements in jazz and improvised music. Jazz history is most often portrayed as a site for individual expression and revolves around the celebration of iconic figures, while the networks and collaborations that enable the music to maintain and sustain its cultural status are surprisingly under-investigated. This collection explores the history of musician-led collectives and the ways in which they offer a powerful counter-model for rethinking jazz practices in the post-war period. It includes studies of groups including the New York Musicians Organization, Sweden’s Ett minne för livet, Wonderbrass from South Wales, the contemporary Dutch jazz-hip hop scene, and Austria‘s JazzWerkstatt. With an international list of contributors and examples from Europe and the United States, these twelve essays and case studies examine issues of shared aesthetic vision, socioeconomic and political factors, local education, and cultural values among improvising musicians.
Table of Contents
1. Introduction: Jazz as a Collective Problem Nicholas Gebhardt 2. Complaining Time is Over:" Network and Collective Strategies of The New York Musicians Organization Michael C. Heller 3. Playing politics: Dutch improvising musicians facing the authorities Loes Rusch 4. Sound Visions and Free Initiatives: The Cultural Politics of Creative Improvised Music Collectives A. Scott Currie 5. Musical Hybridity in the New European City: The Jazz Hip Hop Collectives of C-Mon & Kypski and Kytopia Kristin McGee 6. Collective Cultures and Live Jazz in Birmingham Tim Wall and Simon Barber 7. San Francisco State University’s Music Federation: The Political Machine behind a Jazz Cooperative for Teachers Meredith Eliassen 8. MINNET: Transcending Genre Boundaries, Organizing Diversity Alf Arvidsson and Jörgen Adolfsson 9. 'Wonderbrass' as a South Wales Community Jazz Collective Rob Smith 10. Jazz networks in Austria – the young initiative JazzWerkstatt Christa Bruckner-Haring and Michael Kahr 11. Improvisational conduct and case studies from the margins - an insider’s view on negotiating the collective Petter Frost Fadnes 12. Collective practice and digital mediation Andrew Dubber 13. Conclusion: Towards a Collective Jazz Studies Tony Whyton
Nicholas Gebhardt leads the jazz research programme at Birmingham City University in the United Kingdom. His research interests include popular music in the United States, the entertainment industry, and jazz history, and his most recent book is Music Is Our Business: Popular Music, Vaudeville and Entertainment in American Culture, 1870-1929, published by the University of Chicago Press.
Tony Whyton is Director of the Salford Music Research Centre at the University of Salford in the United Kingdom. He is co-editor of the Jazz Research Journal and has championed new jazz studies research through the development of international research projects and events, including the HERA-funded Rhythm Changes: Jazz Cultures and European Identities project – the largest research project ever funded for a study of jazz in Europe. His book about John Coltrane, Beyond A Love Supreme: John Coltrane and the Legacy of an Album, is published by Oxford University Press.